Выпуск 5
.pdfСтиль в японской каллиграфии |
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Краткий исторический экскурс. Л и ш у в Китае
Несколько огрубляя, можно сказать, что на протяжении всего суще ствования лишу, с момента его возникновения и до сегодняшнего дня в его жизни было два пика активности. Первый связан, собственно, с появлением лишу в конце первого тысячелетия до нашей эры, второй — со вспле ском внимания к древним стелам во время династии Цин (1644-1911).
Возникновение л и ш у
На уровне предания, легенды, распространена версия, что изобрете ние стиля лишу связано с именем циньского чиновника Чэн Мяо, кото рый разработал данный тип письма, находясь в заточении (Белозёрова 2007, с. 157). Если принять эту версию, название стиля приобретает не сколько мрачные коннотации. Однако видный японский лексикограф
иэтимолог Сиракава Сидзука ( 1910-2006) отрицает связь иеро глифа исключительно с тюремным контекстом. Сиракава поясняет, что оригинальный смысл названия лишу, вероятно, связан с письмом, принятым в сфере богослужения, придворных церемоний, соглашений, клятв, храмовых финансовых документов, правительственных указов
ипр. Деревянные и бамбуковые дощечки (яп. моккан и тиккан) более позднего времени относятся к этой же категории документов (Сиракава 2007, с. 934-935).
Японский каллиграф, теоретик и историк каллиграфии Камидзё Синдзан ( 1907—1997) полагает, что стиль лишу возник есте ственным образом, когда широко употреблявшийся до сих пор «малый чжуань» ( кит. сяочжуанъ, яп. котэн) со временем стал слишком не удобен из-за громоздкости в начертании. Требовался более простой и бы стрый способ фиксации письменных текстов (Камидзё и др. 1970, с. 17). Археологические открытия начала XX в. показали огромное разно образие почерков, зафиксированных в мокканах циньского и ханьского времени. Стилистическое разнообразие, естественность и свобода на писания этих документов часто демонстрируют проявление творческой индивидуальности писцов, тенденцию к украшению, стилизации, кал лиграфической игре, а также свидетельствуют об отсутствии единой строгой письменной нормы. В самом деле, под именем лишу доханьского
ираннеханьского времени объединяются подчас самые разнообразные образцы письма.
Своего рода стандартом лишу, лишу в его центральном, прототипиче ском современном понимании является такая его разновидность, как бафэнъ ( яп. хаппун). Автором этой манеры письма считается Цай Юн (132-192)2. Основными образцами бафэнъ являются стелы И ин бэй
2 Выдающийся каллиграф, личность которого является символической точ кой отсчета «авторской» каллиграфии: более ранние образцы письменности принадлежат кистям и резцам анонимов.
Стиль в японской каллиграфии |
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что подобная «узкая специализация» неизбежно приводит к инерции, ка жущемуся на поверхностный взгляд однообразию, застою, кризису. С дру гой стороны, к началу XXI в. в Китае и Японии накопилось такое огром ное количество стилей и почерков, доступ к памятникам настолько упростился, что переварить и как-то творчески осмыслить все это обилие источников вдохновения современному японскому каллиграфу (которо му, как правило, лет семьдесят) вряд ли под силу.
Как бы то ни было, пример лишу является прекрасной демонстрацией того, каким образом китайские приобретения находят свое место в япон ском культурном пространстве.
Словари
1. Дзито (сост. Сиракава Сидзука). Токио: Хэйбонся, 2007.
2.Хёудзюнрэйсёдзитэн. (сост.ТакагиСэйу). Токио: Нигэнся, 2008.
3.Кандзигэн. Токио, Гаккэн, 2006.
4.Zhongguo gudai shufajia cidian. Zhejiangrenminchubanshe,1999.
Источники
1. Содзэнха. Гокан / Пер. на яп. Акамацу Норихико, коммент. Нисибаяси Сёити.
Тюгокухосёсэн, 8. Токио: Нигэнся, 2007.
2.Моккан — тиккан — хакусё. Сэнгоку — Син — кан — син / Пер. на яп”
коммент. ТанакаТртику. Тюгоку хбсёсэн,10. Токио: Нигэнся, 2008.
Литература
1 . Белозёрова В. Г. Искусство китайской каллиграфии. М. : РГГУ, 2007.
2.Маевский Е. В. Графическая стилистика японского языка. М. : ACT: Восток —
Запад, 2006.
3.ЦюйЛэйлэй. Искусство китайской каллиграфии. М.: Ниола-Пресс, 2006.
4.Китайская каллиграфия / Сост. Чэнь Тинъю. Пекин: Межконтинентальное изд-во Китая, 2004.
5.ГЬндай сёдо дзэнсю дайёнмаки. Рэйсё, тэнсё / Сост. Камидзё Синдзан при участии Нисикава Нэй, Аояма Санъу, Тадзима Юкэй, Хибино 1Ъхо, Мураками
•
6.Сесюкодза. Даинанамаки. Рэйсё / Сост. Нисикава Нэй. Токио: Нигэнся, 2010.
7.Накамура Нобуо. Тюгоку киндай-но сёдзинтати. Токио: Нигэнся, 2000.
8.Нихон-но сё. Исин — Сева сёки. Токио: Нигэнся, 2009.
New approach to the sense of the seasons in Noh costumes
Violetta Brazhnikova Tsybizova
Waseda University (Tokyo, Japan)
University Carlos III of Madrid (Madrid, Spain)
Prelude
Clearly differentiated in four seasons the climate of the ancient capital of Japan, Kyoto, origin of the theatre that now occupies us, can not leave a foreigner, nor a native Japanese indifferent. The aroma of the four seasons subtly permeates the daily lives of ordinary people, dominating the artist's life in a veiy special way.
In Japan all over the country many seasonal festivals are held during the year. Often, these festivals are dedicated to the kami of fertility and harvest. With the changes of the season, the decorations for the new season occupy an established place in the stores, streets, government institutions and media.
Therefore, it is not surprising that seasonal changes have a significant presence in the Noh theatre and arts related to the staging. Behind the three hour play are hidden years of a hard work by numerous cast and crew. Although no major changes of scenery in the staging of Noh can be observed, any delicate detail in the props or costumes may indicate the season during which the action is depicted.
It is necessary to consider a concrete example of the production of Noh costumes by one ofthe professional costumiers, Yamaguchi Sensei, the founder of the Yamaguchi Noh Costume Research Center and a son of the legendaiy Nishijin textile master Yamaguchi Yasujiro (1904-2010). His production includes a wide spectrum of activities. From the planting of mulbeny trees to the delicate choice of the right colors, there are many steps on the long road of research. The complicated work of the Yamaguchi Noh Costume Research Center never ends. Noh costumes require special care, whether or not in use on the stage. Therefore, Yamaguchi Sensei is not only dedicated to the production of Noh costumes, but also to their maintenance. Many of them were made in the Edo period and are still used by actors today. These clothes remain in a perfect condition thanks to the effort of professionals like Yamaguchi Sensei.
Nowadays, Yamaguchi Sensei maintains long meetings with Noh in terpreters, who are searching for costumes for their next play1. During these
1Personal presence of the author of this paper during the meetings of Mikawa Izumi Sensei and Imai Yasuo Sensei, both from Hosho school, with Yamaguchi Akira Sensei, in Kyoto (summer 2010).
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meetings, the tempo of authentic Noh should be also kept. Having tea slowly, actor analyzes the way in which the silk threads are carefully woven to become that veiy picture the actor seeks out. Usually, actor looks for a costume according to the following criteria:
a)He seeks to transmit the character’s internal state of mind.
b)He seeks to arouse emotions in the public.
Frequently, costume's design is related to a particular season. This kind of meeting occurs many months before the Noh actor wears the costume in the mirror room called kagamiya and takes the first step towards the hashigakari where the character makes a longjourney, dazzling the audience with beauty.
JO
Of course, primitive Noh theatre owes much the Zen allusion and the absence of any explicit. This fact is due to the education, the warrior class seemed to have received in that historical period. Consequently, in latter period of Edo, bushi could detect subtle difference between good taste and the lack of it thanks to the following important aspects of their lives:
a)Culture.
b)Education.
c)High spirit.
d)Sense of beauty2.
Ftesumably, bushi had nonverbal communication skills. It seems, they could communicate in a way that did not require any explanation, reserved for ordinary people. As for the Noh tradition, «in Edo (".) they [actors] have been succeeding performance and mind (.. •)based on samurai's culture, education, spirit and sense of beauty»3. At the present time, that ability to listen seems to be preserved among Noh actors, although it is difficult to argue that its status remains intact.
By the eighteenth century, the configuration of Noh theatre in accordance with these four aspects of the life of the bushi, had reached perfection. Once the composition of contemporary Noh as one of the varieties of drama was achieved, the Kyoto textile manufacturers took part in the production of apparel to contribute to the status of Noh as an elegant theatre.
The routine of Noh staging begins with a discreet entrance of the musicians and the chorus in the empty space of the Noh stage. Once they are placed each one in his place, the ceremony continues with the appearance of stage assistants, who cany the set items that will be used during the performance. In many cases, these objects bring the mark of a particular season, though in the eyes of a Western viewer the decoding can be compli cated if he or she is not familiar with Noh theatre staging codes. The visual
2Personal interview with Yamaguchi Akira Sensei, taken on 7.08.2010, in Kyoto.
3Letter ofYamaguchi Akira Sensei from 24.04.2011.
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Violetta Brazhnikova Tsybizova |
elements that the waki, supporting character, brings are not always helpful in understanding the sad beauty of the story being developed. The public must await the appearance of shite, the main character, who will introduce the audience to the world of the past times.
It is important to remember that Noh performers do not pretend to present a mere copy of a previous staging of the same play. They always try to transmit a new perspective on the established norms. Therefore, staging in various schools of Noh theatre differ in details, although the model is the same.
One element to innovate is the costumes.
HA
Based on the close study with Yamaguchi Sensei, via concrete example from the play Yuya, this paper will argue that the season is present within the play in three different dimensions:
a)The season represented in the pattern of the clothing.
b)The season depicted by the character’s internal state of mind.
c)The actual season during which the action of the play is set.
As a result of an abrupt change of the mentality, from the beginning of the Meiji Era in 1868, the Japanese public and actors of Noh theatre had lost several notions of classical staging. Thus, there are important differences regarding the interpretation, the costumes and the props in five Noh schools.
In Yuya the play that occupies us on this occasion, the action takes place in spring, and all five Noh schools usually play it in spring. Therefore, in four schools of Noh (Kanze, Kongo, Konparu and Kita schools), the protagonist wears the /caraori with brocade depicting cherry blossoms. This is even more common if the representation takes place outdoors under the branches of real cherry blossoms. As in Kabuki theatre, the public is transported to spring by placing a branch of sakura on the stage and thereby reducing the need for imagination in the viewer.
In contrast, according to the interview with Yamaguchi Sensei, deeply involved in noh costume production and restoration, in the Hosho school one of the longest running actors named Mikawa Izumi Sensei chooses the different type of karaort In the case of the Hosho school, Yuya’s costume's brocade represents autumn plants. What could be the reason for so discordant a decision?
First, we should remember the plot of the play. Attributed to Komparu Zenchiku (1405-1468), or to Kanze Motomasa (1395-1432), the text is taken from the 10th volume of Heike Monogatari and recounts an episode of lives of Taira no Munemori (1147-1185), and his lover Yuya. Once spring has arrived, Yuya receives news of a serious illness that her mother is suffering. Yuya decides to go to see her to Tootomi no Kuni, her place of birth. However, Taira no Munemori expresses the desire to visit Kiyomizudera to admire the cheny blossoms and Yuya dancing in that extraordinary landscape. As Yuya’s dance ends, he expresses sadness because of the falling of cheny blossoms, indicating the end of the spring. At the same time, he reveals the beginning of